The PRE Transition

Closer freestyle

Devil In A NEW Dress freestyle

Scriptures freestyle

In “8 AM in Charlotte Freestyle,” F. Mills masterfully layers his wordplay, weaving a narrative that blends personal introspection with sharp, confrontational lyricism. The track opens with the lines, “Hiatus was needed / Which is a rarity / Cause that rarely is needed,” setting the tone for a reflective journey. The rarity of a hiatus suggests the constant pressure to stay active and vigilant in a world where even the strongest can be tested—a theme that recurs throughout the verse.

F. Mills delves into the challenges of maintaining resilience: “Being strong takes a toll / And I’m rarely defeated.” Here, strength is portrayed as both a blessing and a burden, underscoring the mental and emotional toll it exacts. The mention of pages being hacked and the passive act of retweeting symbolizes the external forces attempting to undermine or destabilize—perhaps a metaphor for the digital and personal battles in modern life.

The wordplay intensifies with the triple entendre in the lines, “Got them Os coming now / and I’m in a new season.” On one level, the departure of “Xs” and arrival of “Os” signifies a shift from past relationships to new opportunities. But F. Mills cleverly layers this with a nod to Twitter’s rebranding as X, indicating a departure from the platform in favor of Instagram Threads: “Besides I’m threading through it now.” The third layer of this wordplay involves “O’s” representing zeros—money—indicating that with this new season comes financial gain. The phrase “threading through it” becomes a bridge between old relationships, leaving Twitter behind, and moving forward to a new season filled with wealth and success. This intricate play on words adds depth to the narrative, showcasing F. Mills’ linguistic dexterity.

The second half of the freestyle delves deeper into the psyche of F. Mills, revealing a strategic retreat to achieve greater success: “Been distanced myself tryna get closer to wealth.” This line underscores the sacrifices made in pursuit of financial and personal growth. The introspective tone continues with “I carried weight up on my shoulders just strengthening delts,” a metaphor for the burdens borne in silence, transforming challenges into strength.

F. Mills also addresses self-perception and external judgment: “Not you judging me how I move consider yourself / Not you coming at Mr. Smooth consider the help.” These lines hint at the tension between public perception and personal truth, with F. Mills asserting his autonomy and reminding critics of their own shortcomings.

The freestyle culminates with a declaration of victory and resilience: “Still the victor so much passion just look at the belts. / Such a loner how I’m fashioned I’m speaking to self.” F. Mills celebrates his triumphs, both visible and invisible, acknowledging the solitary path he’s walked. The imagery of belts—symbolic of championships or achievements—reinforces the idea of hard-won success.

In “8 AM in Charlotte Freestyle,” F. Mills crafts a narrative that is both deeply personal and universally resonant. The lyrics navigate themes of strength, struggle, renewal, and introspection, all while maintaining a sense of confidence and self-awareness. The intricate wordplay, especially the triple entendre surrounding “Xs,” “Os,” and “threading,” exemplifies F. Mills’ lyrical prowess, making this track a powerful addition to his growing body of work.

8 am in Charlotte freestyle

“Hurricane” is a powerful and introspective track that delves into the whirlwind of emotions, resilience, and self-discovery. The lyrics paint a picture of an individual caught in the eye of a storm, grappling with intense feelings and the weight of their thoughts. The song reflects a journey through doubt, persistence, and the struggle to maintain balance amid chaos.

The first verse captures the battle between the overwhelming urge to express oneself and the challenges that threaten to silence that voice. The artist reveals an unwavering determination, likening their thoughts to a relentless force that propels them forward. The mention of haters as mere “apprentices” highlights a sense of confidence, with the artist acknowledging their growth and resilience.

In the second verse, the theme of self-reflection and grounding becomes more prominent. The artist speaks to the importance of meditation and fitness as crucial elements in maintaining their mental and emotional well-being. The lyrics convey a sense of retreat and renewal, as the artist finds solace in nature and confronts their inner struggles. Despite the challenges, there’s a resolve to speak the truth and push forward, no matter how difficult it may be.

Overall, “Hurricane” is an anthem of resilience, self-awareness, and the relentless pursuit of inner peace and truth. The lyrics are a testament to the artist’s journey through life’s storms, emerging stronger and more grounded each time.

Hurricane freestyle

F. Mills Takes Aim with “First Person Shooter Freestyle”

In the ever-evolving landscape of hip-hop, where authenticity and lyrical prowess reign supreme, F. Mills emerges as a potent force with his latest release, “First Person Shooter Freestyle.” The track is a lyrical onslaught that reaffirms his place in the rap game, blending razor-sharp wordplay with an unflinching narrative of self-determination.

From the very first bar, F. Mills makes it clear that he’s not here to play. “I been so hungry, I’m starting to beef / Snapping on rappers and jacking they beats,” he spits, setting the tone for what’s to come. The hunger he describes isn’t just a metaphor for success—it’s a declaration of war on the complacency he sees around him. He’s not just snapping; he’s tearing through the competition, repurposing their beats as his own in a move reminiscent of hip-hop’s golden era.

There’s a moment in the freestyle where F. Mills draws a parallel to Ice Cube, specifically referencing the rap icon’s work in 1993—a time when Cube was at the height of his powers, unafraid to challenge the status quo. “Feel like I’m Cube but way back in 93 / Didn’t take too long shit they knew I was a beast,” he declares, aligning himself with an era of raw, unapologetic artistry. It’s a bold comparison, but one that F. Mills seems more than capable of living up to, as he navigates the treacherous waters of modern rap with the same unyielding confidence.

F. Mills isn’t just here to rap; he’s here to expose the flaws he sees in the game. “Claiming they woke but they dragging they feet,” he critiques, taking aim at those who boast about their awareness but fail to act. It’s a sentiment that echoes throughout the track—F. Mills is tired of the talk, tired of the posturing. He’s a man of action, pushing back against the pretenders with every bar.

In one of the freestyle’s most striking lines, F. Mills asserts, “Want me to speak on these panels I snap like I’m Thanos cause they cannot handle my fee.” The Thanos reference is a powerful one, likening his influence and demand to the unstoppable force of the Marvel villain. Just as Thanos wields the power to reshape reality with a snap, F. Mills suggests his presence on any stage or panel would be nothing short of transformative—if they can afford it, that is.

In a world where the music industry often exploits its artists, F. Mills stands as a beacon of independence. “Own all my songs and publishing none of that sucker shit that’s so demanding of me,” he raps, a line that not only highlights his business acumen but also his refusal to be anything but self-made. Owning his masters, his label, his narrative—F. Mills isn’t just an artist; he’s a mogul in the making.

As the freestyle progresses, we see F. Mills embody the persona of a conqueror, rolling into cities with a crew and laying siege to the industry’s conventions. The imagery is vivid: “Roll the red carpet we come to yo city with many and I’ll put your shit under siege.” This isn’t just a tour stop; it’s a takeover. And while others might bark and bluff, F. Mills is the one making moves, turning threats into actions, and delivering on his promises.

Yet, for all the bravado, there’s a glimpse of vulnerability towards the end. The line, “But she wasn’t right she just fumbled the ring,” introduces a personal narrative, adding depth to the freestyle. It’s a subtle reminder that even in a life driven by success and power, there are moments of loss, of introspection, of what might have been.

“First Person Shooter Freestyle” isn’t just another track in F. Mills’ catalog—it’s a statement. It’s a reminder that in a genre that often prizes image over substance, there are still artists who prioritize the craft, who aren’t afraid to speak their truth, and who will stop at nothing to claim their throne. F. Mills is one of those artists, and with this freestyle, he’s made it clear that he’s here to stay.

First Person Shooter freestyle

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